Sharp Elbow Pain Pushup

Notes Somewhere

Wenders made a trilogy on wandering, one of whose films is Alice in the Cities where a reporter is given temporary custody of a young girl whose mother does not return. The wandering is what is the movement for anything, walk without end, the match between the melancholy and the vagueness of the physical orientation and mutually reinforcing. It is a pretext for urban adventure, filming the city and the men and said which means discomfort adventure. In my eyes is that Wenders films the best big cities, it has a high sensitivity to street furniture, furniture that can not appropriate and who is playing with us, the bodies are very small, lost in a cold body.

Somewhere In wandering is stasis (stasis physical and moral) is not the wandering Rudigler Vogler in Wenders is comfortable wandering lost in the corridors of hot Hotels the way you would advance in her navel, well-known terrain.

Somewhere is a modality of "whatever" from one scene to another one moves from the return to Italian hotel Chateau Marmont, and we're nowhere, we're in a global where the shares have more than the recipient (the questions without response from the press conference) or sender (which sends the sms insults?), and that's what makes it so important the arrival of his daughter as sole presence to turn to directly, with the assurance as the presence response. Somewhere it this way never to be quite there, but not somewhere to force someone to only act but also to be served. In Wenders' wandering is a movement and a sensitivity to this, men, some dandy availability to what is going on outside and inside. Dandy in which Coppola became wanker because of the excesses of the star system, etc..

Somewhere In movement is a way (to go to Italy, rink, etc.), not as an end in wandering wendersienne. When there is a possibility of an adventure, a trip the star system keeps you in a cage: there is a schedule to follow, a promotion to do and we experience freedom by controlling its poor ice at night. One clearly sees that the connection to small to address all this only through the prism of the star system and the tyranny of the promotion. What was interesting is the " I'd prefer not to" which gradually increases, a kind of takeover, resignation active in this inaction, not this faux distressing release, advertising lacks credibility.

So far the film's car was freedom, a metaphor for adult life: finally there will be things to cross. Strangely, in the car Somewhere takes the role too heavy for her a symbol of life wanker to abandon the corner of the road. Nobody understands why there is no justification at any time, awareness is a miracle because nothing that precedes in the film announced it. Nothing bore the seeds of this that does not extend the film to conclude but to amputate his own logic and emotion prevents possible to pick up a point. There is not the whim of a liberating character but a whim screenplay. This is not a cowboy or Chaplin walking off to the promise of newfound freedom given to the spectator who trusts his hero. Gaspard Ulliel is fleeing a press conference in the pub Chanel made by Scorcese and is aired just before the movie: once the walls are fallen there is still the studio.